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Track Listings
| 1. 2.19 |
| 2. Heart Attack And Vine |
| 3. Clap Hands |
| 4. Till The Money Runs Out |
| 5. 16 Shells From A Thirty Ought Six |
| 6. Buzz Fledderjohn |
| 7. Get Behind The Mule |
| 8. Shore Leave |
| 9. Fannin Street |
| 10. Jockey Full Of Bourbon |
| 11. Big Black Mariah |
| 12. Murder In The Red Barn |
| 13. I Know I've Been Changed |
Product Description
Amazon.co.uk Review
Singer and guitarist Hammond devotes nearly all of Wicked Grin to the songs of Tom Waits. It all started when the pair's wives struck on the idea of having Tom produce John's next album. Hammond and Waits have been firm buddies since 1974 and had already made isolated guest exchanges on each other's albums. Once the sessions got swinging, the idea of the Waits song book being used just happened spontaneously, with Tom and Kathleen Brennan even penning two brand-new ditties. Hammond's cranked-up electric guitar is bolstered by a great band featuring Augie Meyers (keys), Larry Taylor (bass) and Stephen Hodges (drums), with Charlie Musselwhite chipping in some primordial harmonica and Waits himself playing background churn-guitar on most cuts. The subterranean feel they capture is inspired, from the swamp-shufflin', grimy trudge of numbers like "Heartattack & Vine" and "Big Black Mariah", to the exposed fragility of "Buzz Fledderjohn" and "Fannin Street". Hammond's mean-mouthed, raspy holler is perfectly suited to the Waits canon, but old Tom does get to sing out on the traditional gospel clap-along of "I Know I've Been Changed". --Martin Longley
CD Description
For WICKED GRIN, John Hammond takes a break from interpreting the likes of Sleepy John Estes and Blind Lemon Jefferson to have a go at the canon of good friend Tom Waits. Further authenticating this project is Waits's involvement as producer and musician. Rounding out the cast on this impressive project are Sir Douglas Quintet keyboardist Augie Meyers, harplegend Charlie Musselwhite, Canned Heat's Larry Taylor, andFabulous Thunderbird Stephen Hodges on skins.
Turning toalbums like RAIN DOGS, SWORDFISHTROMBONES, and BONE MACHINEfor source material, Hammond used his pliable baritone and tasty fretwork to inhabit the characters and seedy scenariosof these songs. Druggies and prostitutes come to life in the 12-bar blues dirge that is "Heart Attack and Vine", while the image of homesick sailor in a foreign port is teased outwith an economically played Vox organ throughout "Shore Leave". Elsewhere, Hammond and company make like Los Super Seven on the norteno-flavoured "Jockey Full Of Bourbon", with Meyers and his squeezebox making like Flaco Jimenez. The only non-Waits song included is "I Know I've Been Changed", an album-ending traditional gospel number turned into a field holler by Waits's shredded growl and Hammond's soulful howl.
Singer and guitarist Hammond devotes nearly all of Wicked Grin to the songs of Tom Waits. It all started when the pair's wives struck on the idea of having Tom produce John's next album. Hammond and Waits have been firm buddies since 1974 and had already made isolated guest exchanges on each other's albums. Once the sessions got swinging, the idea of the Waits song book being used just happened spontaneously, with Tom and Kathleen Brennan even penning two brand-new ditties. Hammond's cranked-up electric guitar is bolstered by a great band featuring Augie Meyers (keys), Larry Taylor (bass) and Stephen Hodges (drums), with Charlie Musselwhite chipping in some primordial harmonica and Waits himself playing background churn-guitar on most cuts. The subterranean feel they capture is inspired, from the swamp-shufflin', grimy trudge of numbers like "Heartattack & Vine" and "Big Black Mariah", to the exposed fragility of "Buzz Fledderjohn" and "Fannin Street". Hammond's mean-mouthed, raspy holler is perfectly suited to the Waits canon, but old Tom does get to sing out on the traditional gospel clap-along of "I Know I've Been Changed". --Martin Longley
CD Description
For WICKED GRIN, John Hammond takes a break from interpreting the likes of Sleepy John Estes and Blind Lemon Jefferson to have a go at the canon of good friend Tom Waits. Further authenticating this project is Waits's involvement as producer and musician. Rounding out the cast on this impressive project are Sir Douglas Quintet keyboardist Augie Meyers, harplegend Charlie Musselwhite, Canned Heat's Larry Taylor, andFabulous Thunderbird Stephen Hodges on skins.
Turning toalbums like RAIN DOGS, SWORDFISHTROMBONES, and BONE MACHINEfor source material, Hammond used his pliable baritone and tasty fretwork to inhabit the characters and seedy scenariosof these songs. Druggies and prostitutes come to life in the 12-bar blues dirge that is "Heart Attack and Vine", while the image of homesick sailor in a foreign port is teased outwith an economically played Vox organ throughout "Shore Leave". Elsewhere, Hammond and company make like Los Super Seven on the norteno-flavoured "Jockey Full Of Bourbon", with Meyers and his squeezebox making like Flaco Jimenez. The only non-Waits song included is "I Know I've Been Changed", an album-ending traditional gospel number turned into a field holler by Waits's shredded growl and Hammond's soulful howl.
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